Re: [Harp-L] Extended Solos

["Planet Harmonica" <lists@xxxxxxxxxxxxxxxxxxx>]

Ron,

You take interesting examples, and I find myself agreeing with you for the most part. However, independantly of radio format, commercial success can hardly be used as a gauge for musicality.

For the most part, I find myself tiring very quickly of long solos over a repetitive chord sequence, whether the soloist approaches it from a jazz (playing the chord changes) or modal direction. What I do enjoy a little more are long solos over single chords or approaching lack of harmonic change. This has a totally different effect. Such a repetitive pattern creates a mood, an atmosphere that often goes beyond the music itself, and also it's very simplicity opens up a lot of possibilities. Obviously, you need a darn good soloist to pull it off. My current reference in the matter is young slide guitarist Derek Trucks. Check out his live recording at Georgia Theatre (http://www.sonymusicstore.com/store/catalog/MerchandiseDetails.jsp?selectionId=092598&sms=t1089399-s092598-ast) to see what I mean.

Ben
  ----- Original Message ----- 
  From: Ron Good 
  To: harp-l@xxxxxxxxxx 
  Sent: Friday, May 13, 2005 10:07 PM
  Subject: Re: [Harp-L] Extended Solos


  Pure opinion:

  In most circumstances, I think long solos don't lead to great music, and I 
  think the exceptions prove the rule. I'll give three non-harp examples 
  (times are approximate):

  Yes: Before Rick Wakeman, Yes constructed tight, thematically cohesive 
  songs, usually about 4-5 minutes--then the band's albums became "The 
  keyboard meanderings of Rick Wakeman, backed by Yes", and the next hit was 
  Owner of a Lonely Heart (back to about 4 minutes), years later.

  Hendrix: With the exception of Voodoo Child, look what happened with 
  Hendrix: Are You Experienced (thematically tight 3-4 minutetunes, and radio 
  hits), Axis Bold as Love (3-4 minutes, and radio hits) and then Electric 
  Ladyland: guitarists loved it, and everybody else pretty much thought, cool, 
  and listened to it once or twice, except for the one hit" "Watchtower" 
  (what? 4 minutes or so...). His next LP was "Smash Hits"--all short songs.

  Cream: Fresh Cream, Disraeli Gears (short, concise tunes, and radio hits), 
  then Wheels of Fire--and the hit was "Crossroads", 4:03...and that was even 
  on FM, and those days the FM folks could play what they or the audience 
  wanted.

  It could be argued that radio play standards had something to do with this, 
  but I really think it's because most musicians say what they have to say 
  best when the solo time is somewhat limited. Really long solos tend to 
  become background music.

  Ron 

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